comedy
Compared to other teen classics that have covered the same ground before, The Kissing Booth comes across as amateurish – and a tiny bit problematic.
Kristy Strouse reviews her final batch of films from Tribeca Film Festival, including Zoe, In a Relationship, and Woman Walks Ahead.
As well as getting a chance to check out witty theatrical drama The Great Pretender at Tribecca Film Festival, Film Inquiry’s Kristy Strouse also got to speak to director Nathan Silver about his film.
Director Claire Denis is choosing a more diverse range of film projects than any other time in her career – and it’s best exemplified by Let the Sunshine in, a romcom that subverts genre expectations on the hunt for true love.
17 years after Super Troopers became a modest financial success and cult comedy favourite, Super Troopers 2 sees the characters return – and nothing substantial has changed in the intervening years, for better and for worse.
David Fontana discusses four films directed by women that show transitional periods of life, from an adolescent teen to an immigrant mother attempting to make it in America.
An Oversimplification of Her Beauty is a solid stroke of inventive creativity and artistic integrity, all buttressed by a profound love and understanding of film.
This belated sequel to Gnomeo and Juliet poorly attempts to expand the cinematic universe – and merely exposes the poor storytelling within.
Thanks to the funny and occasionally moving performances of Gould and Clement and a confident feature film debut from Hoffman, Humor Me qualifies as a passable entry into the midlife crisis sub-genre.
From the 2018 Tribeca Film Festival, Kristy Strouse reviews Alia Shawkat’s new film Duck Butter, the film starring Taika Waititi as a cult leader, Seven Stages To Achieve Eternal Bliss By Passing Through The Gateway Chosen By The Holy Storsh and the Martin Freeman zombie vehicle, Cargo.
Redoutable is an irreverent take on the biopic that gleefully flips the bird at its subject, and takes delight in making him conform to a conventional narrative of the type he grew to detest leading to some of the finest moments of cringe comedy in recent memory.
The Party’s Just Beginning isn’t always fun, but it’s definitely a powerful vehicle for the very talented Karen Gillan.
Funny Cow is one of the most harmful depictions of the British working class in popular culture since Sacha Baron Cohen’s Grimsby, in addition to being one of the most mindbogglingly racist and homophobic films in recent memory.
Imitation Girl is an interesting character study focusing on women asking the questions: Who am I? and What do I have to show for my life? Lauren Ashley Carter gives strong performances as both Julianna and her imitation in this unique and captivating film about identity.
Samuel Maoz’s Foxtrot toys with our emotions, but that doesn’t mean it lacks any of its own. This is an energetic and structurally audacious jukebox of sensations, prioritising impulse over precision and thought over action.